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Gerald Murphy held a place in the French avant-garde because he promoted American products and the machine in his paintings; in 1959 he was rediscovered and became an inspiration for the pop art movement.
Alfred Stieglitz and Georgia O'Keeffe symbolized the unusual juxtapositions characteristic of the American modernist period. Representative samples of her paintings and his photographs show the impact they had on each other and on the evolution of American art.
Professor Corn presents a collection of archival photographs and cubist paintings, as well as sample writings and readings by Gertrude Stein to demonstrate the artist's importance to the emergence of cubism in Paris and the furtherance of the modernist movement.
Marcel Duchamp's fascination with industrial design and the machine aesthetic, and his ability to be ironic and amusing while stating a truth, created a new art form.
The (Alfred) Stieglitz Circle was at the cutting edge of art in the early 20th century. His gallery, called 291, allowed avant-garde artists to show off their works in the most modern setting of the time.
Stieglitz's 2nd Circle, composed of American artists, displayed art based on organic forms and influenced by the heritage of the Hudson River School, the sublimity of nature, and transcendentalist philosophy.
Florine Stettheimer and Charles Demuth have undergone major reinterpretation due to recent interest in gender and sexual themes, and their art may be termed "modernism at the margins."
Charles Demuth is best known as a precisionist artist, creating Cubist Realist paintings. Here we learn of his watercolors, his Poster Portraits and his masterpiece, I Saw the Figure Five in Gold.
Avant-garde art in Paris changed radically after WW I. There was a new kind of realism or classicism, and art became more conservative and tied to traditions - a nostalgic attempt to re-create the pre-war days.
Cubism turned objects into intellectual exercises, creating mental gymnastics for the viewer and the artist. This new way of experiencing reality focused on a new tomorrow brought about Futurism.
Professor Corn utilizes works by Matisse, Whistler, Van Gogh, Gauguin, and Kandinsky to demonstrate the special connotations of Abstraction and Symbolism for the avant-garde artists.
Using charts, drawings, photographs, and paintings, Professor Corn explains how the emergence of an avant-garde subculture was a typically modern phenomenon and shows how these groups established and sustained themselves.
The Armory Show of 1913 introduced the American public to the avant-garde art of Europe. Marcel Duchamp's painting, Nude Descending a Staircase, became the key work of the exhibition and came to represent the Cubo/Futurist movement to Americans.
This guide through New York and Paris in the 1920s helps break the stereotyping of African-Americans during this decade - the first time this country saw the potential for major art to come out of a great black community.
After WW I, the US experienced prosperity and there was a rise in national pride, a need to establish an identity separate from Europe. This new American identity was connected with modernism art, and New York City came to represent all of America.
Charles Sheeler photographed and painted New York as the majestic. He abstracted the form from the machine age vistas, turning the buildings into Cubist shapes. His method was to show an appreciation of the modern in the old.
Through cartoons, photographs, and paintings, Professor Corn provides a theoretical framework for exploring the new art forms of the modernist, avant-garde period.
Professor Corn uses paintings by French Impressionists Claude Monet and Edgar Degas and by American Ashcan School artists George Bellows and John Sloan to show how modern urbanism had very different meanings for Parisians and New Yorkers.
Transatlantic Modernism came to a natural ending between 1930 and 1935 when the Depression affected both the culture and art. The playfulness, optimism, and prosperity of the 1920s soon evolved into a different type of art in the 1930s, breaking the spell of the machine age.
In 1915 the first notion of transatlantic art came into being, with French artists such as Duchamp, Picabia, and Gleizes exhibiting their works and publishing articles about art in the United States.